DOCSLIB.ORG

NFP Brand Guide At-A-Glance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NFP Brand Guide At-A-Glance NFP Brand Guide At-A-Glance Communication tools to keep your conversations growing. At-A-Glance Brand Guidelines Page 2 Clear Space Always maintain a minimum area of clear space around the NFP logo. This area is equal to the height of the nexus symbol as shown to the right. Do not let anything infringe upon this space. Minimum Size = x 1x Print Minimum Digital Minimum 1x 1x 1x 0.75˝ 90px Signature Color Use NFP Green – PANTONE® 363C (RGB 170/208/149) – whenever possible. When you can’t use NFP Green – on forms and limited color communications – use black. The logo can also be reversed out to white for use on solid and dark backgrounds. The reversed logo should not be used on complex backgrounds or a background without sufficient contrast. Logo Do Nots Changing the NFP logo in any way weakens its impact and our brand strength, and detracts from the consistent image we want to project. The examples below are not exhaustive, but help demonstrate what not to do. Don’t use an older version Don’t redraw any of our Signature. elements. Don’t modify or change Don’t add a stroke. the color. Don’t place on complex Don’t add effects or backgrounds. drop shadows. Don’t create lockups with Don’t use our Signature any other logos. How cares... as a “read through.” Acme Brothers Don’t modify the letter forms or use another Don’t distort the logo. NFP typeface. Don’t use the full- Don’t add graphics color logo on colored or drawings. backgrounds. Don’t use the NFP Wordmark without the Don’t decorate. Nexus Symbol. At-A-Glance Brand Guidelines Page 3 Typography Use Myriad Pro for all materials, excluding day-to-day communications such as emails, letters, spreadsheets and on-screen presentations. In instances where Myriad Pro isn’t available, such as in Microsoft® Word® and Microsoft® PowerPoint®, Arial may used. Color NFP Light Orange NFP Light Yellow NFP Light Green NFP Light Aqua NFP Light Navy NFP Light Purple PANTONE® 155 C PANTONE® 127 C PANTONE® 359 C PANTONE® 3105 C PANTONE® 2190 C PANTONE® 2066 C CMYK 0/12/34/0 CMYK 0/4/62/0 CMYK 40/0/50/0 CMYK 44/0/11/0 CMYK 70/3/0/0 CMYK 23/49/0/0 sRGB 245/215/165 sRGB 250/225/123 sRGB 170/208/149 sRGB 149/207/216 sRGB 63/177/226 sRGB 191/145/186 HTML F5D7A5 HTML FAE17B HTML AAD095 HTML 95CFD8 HTML 3FB1E2 HTML BF91BA NFP Orange NFP Yellow NFP Green NFP Aqua NFP Navy NFP Purple PANTONE® 2012 C PANTONE® 7548 C PANTONE® 363 C PANTONE® 3125 C PANTONE® 2195 C PANTONE® 2069 C CMYK 0/45/100/0 CMYK 0/12/98/0 CMYK 76/3/100/18 CMYK 84/0/18/0 CMYK 98/40/0/0 CMYK 47/81/0/0 sRGB 235/157/0 sRGB 246/208/58 sRGB 79/146/55 sRGB 0/170/195 sRGB 0/116/188 sRGB 154/73/139 HTML EB9D00 HTML F6D03A HTML 4F9237 HTML 00AAC3 HTML 0074BC HTML 9A498B NFP Dark Orange NFP Dark Yellow NFP Dark Green NFP Dark Aqua NFP Dark Navy NFP Dark Purple PANTONE® 2019 C PANTONE® 2007 C PANTONE® 7743 C PANTONE® 3145 C PANTONE® 2186 C PANTONE® 259 C CMYK 0/69/100/2 CMYK 0/33/92/2 CMYK 71/8/100/50 CMYK 100/10/29/20 CMYK 100/46/0/46 CMYK 67/100/4/5 sRGB 225/124/15 sRGB 233/168/0 sRGB 70/113/43 sRGB 0/125/145 sRGB 0/84/131 sRGB 122/50/126 HTML E17C0F HTML E9A800 HTML 46712B HTML 007D91 HTML 005483 HTML 7A327E NFP Light Red NFP Light Gray NFP Light Earth NFP Black PANTONE® 177 C PANTONE® 428 C PANTONE® 7528 C PANTONE® Black 6 C CMYK 0/54/38/0 CMYK 10/4/4/14 CMYK 5/10/17/16 CMYK 0/0/0/100 sRGB 231/148/138 sRGB 201/206/209 sRGB 202/191/173 sRGB 0/0/0 HTML E7948A HTML C9CED1 HTML CABFAD HTML 000000 NFP Red NFP Gray NFP Earth PANTONE® 179 C PANTONE® 430 C PANTONE® 7531 C CMYK 0/87/85/0 CMYK 33/18/13/40 CMYK 16/29/38/53 sRGB 221/81/67 sRGB 133/143/152 sRGB 137/120/99 HTML DD5143 HTML 858F98 HTML 897863 NFP Dark Red NFP Dark Gray NFP Dark Earth PANTONE® 7622 C PANTONE® 432 C PANTONE® 7533 C CMYK 0/97/89/45 CMYK 65/43/26/78 CMYK 37/53/68/83 sRGB 157/48/43 sRGB 60/70/82 sRGB 73/59/41 HTML 9D302B HTML 3C4652 HTML 493B29 NFP Boiler NFP is a leading insurance broker and consultant that provides employee benefits, specialized property and casualty, retirement, and individual private client solutions through our licensed subsidiaries and affiliates. Our expertise is matched by our commitment to each client’s goals and is enhanced by our investments in innovative technologies in the insurance brokerage and consulting space. NFP has more than 5,600 employees and global capabilities. Our expansive reach gives us access to highly rated insurers, vendors, and financial institutions in the industry, while our locally based employees tailor each solution to meet our clients’ needs. We’ve become one of the largest insurance brokerage, consulting, and wealth management firms by building enduring relationships with our clients and helping them realize their goals. Photography Please reference NFP’s photo usage guide, which can be found on brandcentral.nfp.com. QUESTIONS? This guide was designed to help make it faster and easier for you to stay NFP brand- compliant in your communications. It’s an abridged version of our full guidelines and references the things we receive the most questions about, like logo usage, colors and fonts. If you’d like more information or if you have ideas for how we can improve this guide, please reach out to us at [email protected]. Our comprehensive brand guidelines can be found at brandcentral.nfp.com for detailed explanations into all things brand-related. 1250 Capital of Texas Highway S. Building 2, Suite 600 Austin, TX 78746 brandcentral.nfp.com 17-COR-MKT-GEN-0888 Copyright © 2019 NFP. All rights reserved..
Load more

Recommended publications
  • Accurately Reproducing Pantone Colors on Digital Presses
    Accurately Reproducing Pantone Colors on Digital Presses By Anne Howard Graphic Communication Department College of Liberal Arts California Polytechnic State University June 2012 Abstract Anne Howard Graphic Communication Department, June 2012 Advisor: Dr. Xiaoying Rong The purpose of this study was to find out how accurately digital presses reproduce Pantone spot colors. The Pantone Matching System is a printing industry standard for spot colors. Because digital printing is becoming more popular, this study was intended to help designers decide on whether they should print Pantone colors on digital presses and expect to see similar colors on paper as they do on a computer monitor. This study investigated how a Xerox DocuColor 2060, Ricoh Pro C900s, and a Konica Minolta bizhub Press C8000 with default settings could print 45 Pantone colors from the Uncoated Solid color book with only the use of cyan, magenta, yellow and black toner. After creating a profile with a GRACoL target sheet, the 45 colors were printed again, measured and compared to the original Pantone Swatch book. Results from this study showed that the profile helped correct the DocuColor color output, however, the Konica Minolta and Ricoh color outputs generally produced the same as they did without the profile. The Konica Minolta and Ricoh have much newer versions of the EFI Fiery RIPs than the DocuColor so they are more likely to interpret Pantone colors the same way as when a profile is used. If printers are using newer presses, they should expect to see consistent color output of Pantone colors with or without profiles when using default settings.
    [Show full text]
  • Iec 61966-2-4
    This is a preview - click here to buy the full publication IEC 61966-2-4 Edition 1.0 2006-01 INTERNATIONAL STANDARD Multimedia systems and equipment – Colour measurement and management – Part 2-4: Colour management – Extended-gamut YCC colour space for video applications – xvYCC INTERNATIONAL ELECTROTECHNICAL COMMISSION PRICE CODE R ICS 33.160.40 ISBN 2-8318-8426-8 This is a preview - click here to buy the full publication – 2 – 61966-2-4 IEC:2006(E) CONTENTS FOREWORD...........................................................................................................................3 INTRODUCTION.....................................................................................................................5 1 Scope...............................................................................................................................6 2 Normative references .......................................................................................................6 3 Terms and definitions.........................................................................................................6 4 Colorimetric parameters and related characteristics .........................................................7 4.1 Primary colours and reference white........................................................................7 4.2 Opto-electronic transfer characteristics ...................................................................7 4.3 YCC (luma-chroma-chroma) encoding methods.......................................................8
    [Show full text]
  • 246E9QSB/00 Philips LCD Monitor with Ultra Wide-Color
    Philips LCD monitor with Ultra Wide-Color E Line 24 (23.8" / 60.5 cm diag.) Full HD (1920 x 1080) 246E9QSB Stunning color, stylish design The Philips E line monitor features stylish design with extraordinary picture performance. A narrow border Full HD display with Ultra Wide-Color brings you to real true-to-life visuals. Enjoy superior viewing in a stylish design. Superb Picture Quality • Ultra Wide-Color wider range of colors for a vivid picture • IPS LED wide view technology for image and color accuracy • 16:9 Full HD display for crisp detailed images Features designed for you • Narrow border display for a seamless appearance • Less eye fatigue with Flicker-free technology • LowBlue Mode for easy on-the-eyes productivity • EasyRead mode for a paper-like reading experience Greener everyday • Eco-friendly materials meet major international standards • Low power consumption saves energy bills LCD monitor with Ultra Wide-Color 246E9QSB/00 E Line 24 (23.8" / 60.5 cm diag.), Full HD (1920 x 1080) Highlights Ultra Wide-Color Technology 16:9 Full HD display a new solution to regulate brightness and reduce flicker for more comfortable viewing. LowBlue Mode Ultra Wide-Color Technology delivers a wider Picture quality matters. Regular displays deliver spectrum of colors for a more brilliant picture. quality, but you expect more. This display Ultra Wide-Color wider "color gamut" features enhanced Full HD 1920 x 1080 produces more natural-looking greens, vivid resolution. With Full HD for crisp detail paired Studies have shown that just as ultra-violet rays reds and deeper blues.
    [Show full text]
  • Specification of Srgb
    How to interpret the sRGB color space (specified in IEC 61966-2-1) for ICC profiles A. Key sRGB color space specifications (see IEC 61966-2-1 https://webstore.iec.ch/publication/6168 for more information). 1. Chromaticity co-ordinates of primaries: R: x = 0.64, y = 0.33, z = 0.03; G: x = 0.30, y = 0.60, z = 0.10; B: x = 0.15, y = 0.06, z = 0.79. Note: These are defined in ITU-R BT.709 (the television standard for HDTV capture). 2. Reference display‘Gamma’: Approximately 2.2 (see precise specification of color component transfer function below). 3. Reference display white point chromaticity: x = 0.3127, y = 0.3290, z = 0.3583 (equivalent to the chromaticity of CIE Illuminant D65). 4. Reference display white point luminance: 80 cd/m2 (includes veiling glare). Note: The reference display white point tristimulus values are: Xabs = 76.04, Yabs = 80, Zabs = 87.12. 5. Reference veiling glare luminance: 0.2 cd/m2 (this is the reference viewer-observed black point luminance). Note: The reference viewer-observed black point tristimulus values are assumed to be: Xabs = 0.1901, Yabs = 0.2, Zabs = 0.2178. These values are not specified in IEC 61966-2-1, and are an additional interpretation provided in this document. 6. Tristimulus value normalization: The CIE 1931 XYZ values are scaled from 0.0 to 1.0. Note: The following scaling equations can be used. These equations are not provided in IEC 61966-2-1, and are an additional interpretation provided in this document. 76.04 X abs 0.1901 XN = = 0.0125313 (Xabs – 0.1901) 80 76.04 0.1901 Yabs 0.2 YN = = 0.0125313 (Yabs – 0.2) 80 0.2 87.12 Zabs 0.2178 ZN = = 0.0125313 (Zabs – 0.2178) 80 87.12 0.2178 7.
    [Show full text]
  • Spectral Primary Decomposition for Rendering with RGB Reflectance
    Eurographics Symposium on Rendering (DL-only Track) (2019) T. Boubekeur and P. Sen (Editors) Spectral Primary Decomposition for Rendering with sRGB Reflectance Ian Mallett1 and Cem Yuksel1 1University of Utah Ground Truth Our Method Meng et al. 2015 D65 Environment 35 Error (Noise & Imprecision) Error (Color Distortion) E D CIE76 0:0 Lambertian Plane Figure 1: Spectral rendering of a texture containing the entire sRGB gamut as the Lambertian albedo for a plane under a D65 environment. In this configuration, ideally, rendered sRGB pixels should match the texture’s values. Prior work by Meng et al. [MSHD15] produces noticeable color distortion, whereas our method produces no error beyond numerical precision and Monte Carlo sampling noise (the magnitude of the DE induced by this noise varies with the image because sRGB is perceptually nonlinear). Contemporary work [JH19] is also nearly able to achieve this, but at a significant implementation and memory cost. Abstract Spectral renderers, as-compared to RGB renderers, are able to simulate light transport that is closer to reality, capturing light behavior that is impossible to simulate with any three-primary decomposition. However, spectral rendering requires spectral scene data (e.g. textures and material properties), which is not widely available, severely limiting the practicality of spectral rendering. Unfortunately, producing a physically valid reflectance spectrum from a given sRGB triple has been a challenging problem, and indeed until very recently constructing a spectrum without colorimetric round-trip error was thought to be impos- sible. In this paper, we introduce a new procedure for efficiently generating a reflectance spectrum from any given sRGB input data.
    [Show full text]
  • 新動画用拡張色空間xvycc(IEC61966-2-4)
    xvYCC制定の背景 1. 現在のテレビシステムの色再現は、CRT の蛍光 新動画用拡張色空間 体の特性をもとに決められており、実在する物体 xvYCC(IEC61966-2-4) 色の約55%しか表現できないという問題があった。 2. これまでのテレビ信号との互換性を保持しつつ、よ り鮮やかな色を表現するため、新しい動画用拡張 （社）電子情報技術産業協会 AV&IT機器標準化委員会 色空間規格IEC61966-2-4: xvYCC(エックスブイ・ ・カラーマネージメント標準化グループ ワイシーシー)の制定に至った。 主査： 杉浦博明 ［三菱電機㈱］ ・61966-2sRGB等対応グループ 副主査： 加藤直哉 ［ソニー㈱］ 2006/08/30 @JEITA 1 2 xvYCC制定の経緯 動画用拡張色域YCC色空間 - Extended-gamut YCC colour space ［2004 年9 月］ for video applications - xvYCC JEITA カラーマネジメント標準化委員会（後にカラー マネジメント標準化グループに改組）において、動画用 拡張色空間xvYCCの国際規格化の審議を開始した。 拡張色域色空間制定の背景 表示装置の現状 ［2004 年10 月］ 規格の現状（cf. 静止画） 韓国 ソウルで開催された第68 回IEC（国際電気標準 会議）総会と同時開催の第10回TC100 総会において、 撮像装置の現状 日本から提案した本規格案は、次世代のテレビシステ ムあるいは、動画システムにおいて非常に重要との産 IECにおける標準化の経緯 業的判断から、加速化プロセスにて迅速な審議を行うこ xvYCC – IEC61966-2-4 とが決定された。 各種色空間の比較 ［2006 年1 月］ メディア色域包括率 IEC に設けられたプロジェクトチームにおいて、数回 の国際的な審議を経た後、ほぼJEITA からの提案どお 期待される効果 りの内容で国際規格IEC 61966-2-4 として正式に発行 された。 関連プレスリリース 他規格(MPEG,HDMI)への波及 3 4 sRGB色域外の高彩度物体色の例 拡張色域色空間の必要性（背景１） CRT以外の技術を用いて色再現域（色域）を拡張させた 様々な表示装置が市場に出現してきている． 0.9 しかしながら，現在の動画コンテンツの多くは従来の（sRGB 0.8 色域に制限された）CRTテレビ向けに画作りされている． 0.7 その結果，表示装置側が広色域となったメリットを活かしき 0.6 れていないのが現状である． 0.5 0.4 sRGB 0.6 0.3 （CRT色域） 0.2 0.4 0.1 CIE sRGB 0 Triluminos 0 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 色域外 0.2 x sRGB(709) NTSC Wide-gamut xy Chromaticity Diagram 0 0 0.2 0.4 0.6 これらの色は，CRT特性をもとに決められた従来のテレビ信号では表現できません． 5 6 SID 2005 @ Boston SID 2006 @ San Francisco 広色域関連発表：計５件（４社） 広色域関連発表：計４件（３社） Session 25: Spatial and Temporal Color Session 19: Applications and Vision STColor: Hybrid Spatial-Temporal Color Synthesis for Enhanced (Applications/Applied Vision) Display Image Quality Improved Six-Primary-Color 23-in. WXGA LCD Using Six-Color LEDs L. D. Silverstein, VCD Sciences, Inc., USA Hiroaki Sugiura, Mitsubishi Electric Corp., Japan A Wide-Gamut-Color High-Aperture-Ratio Mobile Spectrum xvYCC: A new Standard for Video Systems Using Extended-Gamut Sequential LCD YCC Color Space S.
    [Show full text]
  • Arxiv:1902.00267V1 [Cs.CV] 1 Feb 2019 Fcmue Iin Oto H Aaesue O Mg Classificat Image Th for in Used Applications Datasets Fundamental the Most of the Most Vision
    ColorNet: Investigating the importance of color spaces for image classification⋆ Shreyank N Gowda1 and Chun Yuan2 1 Computer Science Department, Tsinghua University, Beijing 10084, China [email protected] 2 Graduate School at Shenzhen, Tsinghua University, Shenzhen 518055, China [email protected] Abstract. Image classification is a fundamental application in computer vision. Recently, deeper networks and highly connected networks have shown state of the art performance for image classification tasks. Most datasets these days consist of a finite number of color images. These color images are taken as input in the form of RGB images and clas- sification is done without modifying them. We explore the importance of color spaces and show that color spaces (essentially transformations of original RGB images) can significantly affect classification accuracy. Further, we show that certain classes of images are better represented in particular color spaces and for a dataset with a highly varying number of classes such as CIFAR and Imagenet, using a model that considers multi- ple color spaces within the same model gives excellent levels of accuracy. Also, we show that such a model, where the input is preprocessed into multiple color spaces simultaneously, needs far fewer parameters to ob- tain high accuracy for classification. For example, our model with 1.75M parameters significantly outperforms DenseNet 100-12 that has 12M pa- rameters and gives results comparable to Densenet-BC-190-40 that has 25.6M parameters for classification of four competitive image classifica- tion datasets namely: CIFAR-10, CIFAR-100, SVHN and Imagenet. Our model essentially takes an RGB image as input, simultaneously converts the image into 7 different color spaces and uses these as inputs to individ- ual densenets.
    [Show full text]
  • Color Space Analysis for Iris Recognition
    Graduate Theses, Dissertations, and Problem Reports 2007 Color space analysis for iris recognition Matthew K. Monaco West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Monaco, Matthew K., "Color space analysis for iris recognition" (2007). Graduate Theses, Dissertations, and Problem Reports. 1859. https://researchrepository.wvu.edu/etd/1859 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Color Space Analysis for Iris Recognition by Matthew K. Monaco Thesis submitted to the College of Engineering and Mineral Resources at West Virginia University in partial ful¯llment of the requirements for the degree of Master of Science in Electrical Engineering Arun A. Ross, Ph.D., Chair Lawrence Hornak, Ph.D. Xin Li, Ph.D. Lane Department of Computer Science and Electrical Engineering Morgantown, West Virginia 2007 Keywords: Iris, Iris Recognition, Multispectral, Iris Anatomy, Iris Feature Extraction, Iris Fusion, Score Level Fusion, Multimodal Biometrics, Color Space Analysis, Iris Enhancement, Iris Color Analysis, Color Iris Recognition Copyright 2007 Matthew K.
    [Show full text]
  • Application of Contrast Sensitivity Functions in Standard and High Dynamic Range Color Spaces
    https://doi.org/10.2352/ISSN.2470-1173.2021.11.HVEI-153 This work is licensed under the Creative Commons Attribution 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/. Color Threshold Functions: Application of Contrast Sensitivity Functions in Standard and High Dynamic Range Color Spaces Minjung Kim, Maryam Azimi, and Rafał K. Mantiuk Department of Computer Science and Technology, University of Cambridge Abstract vision science. However, it is not obvious as to how contrast Contrast sensitivity functions (CSFs) describe the smallest thresholds in DKL would translate to thresholds in other color visible contrast across a range of stimulus and viewing param- spaces across their color components due to non-linearities such eters. CSFs are useful for imaging and video applications, as as PQ encoding. contrast thresholds describe the maximum of color reproduction In this work, we adapt our spatio-chromatic CSF1 [12] to error that is invisible to the human observer. However, existing predict color threshold functions (CTFs). CTFs describe detec- CSFs are limited. First, they are typically only defined for achro- tion thresholds in color spaces that are more commonly used in matic contrast. Second, even when they are defined for chromatic imaging, video, and color science applications, such as sRGB contrast, the thresholds are described along the cardinal dimen- and YCbCr. The spatio-chromatic CSF model from [12] can sions of linear opponent color spaces, and therefore are difficult predict detection thresholds for any point in the color space and to relate to the dimensions of more commonly used color spaces, for any chromatic and achromatic modulation.
    [Show full text]
  • Brand Guide Mission Statement
    Brand Guide Mission Statement Cotton LEADS™ is a program that is committed to responsibly-produced cotton. This document has been created for partners to advance the mission of Cotton LEADS™ with visual consistency and a high level of quality. When the brand is displayed correctly, we create awareness and actually start to accelerate the growth and strength of our message. Logo & Logotype Logo Mark The single icon was inspired from the shape of a single cotton seed. Within that seed are bands of color that represent the rows of a field and the importance of spreading the Cotton LEADS™ message. Also, those six bands of color signify the five core principles of the program and the central or core circular shape represents Cotton LEADS™ itself. Logotype The Avenir font was chosen for its modern feel and versatility. LEADS is bold and obilique to show forward movement. Logo & Logotype Clear Space Logo & Logotype Clear Space To assure the brand properly stands out, clear space has been established to keep the mark free of any text or graphic elements. Clear space is measured by the larger capital letter height in the logotype as illustrated on this page. The minimum clear space is 1X on all sides of all layouts. Logo & Logotype Approved Layouts: Color Logo & Logotype On this page are the four approved The complete logo and logotype. layouts for Cotton LEADS™ color logo. Logotype words should be all caps and always have the TM superscript in the accepted layouts provided. Logotype only. Horizontal logotype option. Logomark only. ™ Logo & Logotype Approved Layouts: Black and White Logo & Logotype On this page are the approved layouts for Cotton LEADS™ black and white logo variations.
    [Show full text]
  • HDR RENDERING on NVIDIA GPUS Thomas J
    HDR RENDERING ON NVIDIA GPUS Thomas J. True, May 8, 2017 HDR Overview Visible Color & Colorspaces NVIDIA Display Pipeline Tone Mapping AGENDA Programing for HDR Best Practices Conclusion Q & A 2 HDR OVERVIEW 3 WHAT IS HIGH DYNAMIC RANGE? HDR is considered a combination of: • Bright display: 750 cm/m 2 minimum, 1000-10,000 cd/m 2 highlights • Deep blacks: Contrast of 50k:1 or better • 4K or higher resolution • Wide color gamut What’s a nit? A measure of light emitted per unit area. 1 nit (nt) = 1 candela / m 2 4 BENEFITS OF HDR Tell a Better Story with Improved Visuals Richer colors Realistic highlights More contrast and detail in shadows Reduces / Eliminates clipping and compression issues HDR isn’t simply about making brighter images 5 HUNT EFFECT Increasing the Luminance Increases the Colorfulness By increasing luminance it is possible to show highly saturated colors without using highly saturated RGB color primaries Note: you can easily see the effect but CIE xy values stay the same 6 STEPHEN EFFECT Increased Spatial Resolution More visual acuity with increased luminance. Simple experiment – look at book page indoors and then walk with a book into sunlight 7 HOW HDR IS DELIVERED TODAY Displays and Connections High-End Professional Color Grading Displays – via SDI • Dolby Pulsar (4000 nits) • Dolby Maui • SONY X300 (1000 nit OLED) • Canon DP-V2420 UHD TVs – via HDMI 2.0a/b • LG, SONY, Samsung… (1000 nits, high contrast, HDR10, Dolby Vision, etc) Desktop Computer Displays – coming soon to a desktop / laptop near you 8 VISIBLE COLOR &
    [Show full text]
  • Color Appearance Models Second Edition
    Color Appearance Models Second Edition Mark D. Fairchild Munsell Color Science Laboratory Rochester Institute of Technology, USA Color Appearance Models Wiley–IS&T Series in Imaging Science and Technology Series Editor: Michael A. Kriss Formerly of the Eastman Kodak Research Laboratories and the University of Rochester The Reproduction of Colour (6th Edition) R. W. G. Hunt Color Appearance Models (2nd Edition) Mark D. Fairchild Published in Association with the Society for Imaging Science and Technology Color Appearance Models Second Edition Mark D. Fairchild Munsell Color Science Laboratory Rochester Institute of Technology, USA Copyright © 2005 John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England Telephone (+44) 1243 779777 This book was previously publisher by Pearson Education, Inc Email (for orders and customer service enquiries): [email protected] Visit our Home Page on www.wileyeurope.com or www.wiley.com All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher should be addressed to the Permissions Department, John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex PO19 8SQ, England, or emailed to [email protected], or faxed to (+44) 1243 770571. This publication is designed to offer Authors the opportunity to publish accurate and authoritative information in regard to the subject matter covered.
    [Show full text]